Welcome back aboard the, what number was it again, Jupiter 2 I think it was, and the trials and tribulations of the Robinsons and their guests!
The Robinsons have their own internal and external issues, as always, but this episode begins with Lady Smith’s background, at least parts of it. The Harris sisters obviously have all kinds of issues with each-other too, but Jess at least seems to be willing to let bygones-be- bygones with June. And that’s likely because Jess has gotten herself into the Alpha Centauri project and will be quitting Earth, so she offers everything she’s leaving behind to her sister June, who seems to take being tossed cast-offs rather badly. Jess is successful enough to get into Alpha Centauri, but June is clever and resourceful enough to strike first, and take her sisters place!
Back on the Jupiter 2, Mama Bear Maureen and soldier dad John are at odds with each-other, as they often are, over the disposition of the ship and the mental health of their children. Judy is obviously suffering from PTSD after her ordeal with the ice, who could blame her, and John, the one person with the most experience in these matters, is concerned that Mo frankly hasn’t even noticed. Will is of course having nightmares from his Robot-vision and concerns with the Robot him-itself, but nothing and no-one will stop the Robot from protecting Will from any and all dangers. And Penny, well, she has as yet to really freak out, but that all changes when the outside bad guys of this episode manifest.
The Robinsons need to get that darned ship out of the ice as the ground around them continues to disintegrate, and to make matters worse, the dwindling fuel tanks have been infected with eels, that’s right, eels that apparently feed on what their fuel is made of. Alien spaceship-fuel-eating eels, wandering through the pipes all through the ship and attacking when our heroes get themselves mistakenly covered in fuel liquid.
This is an instance where John Robinson begins to shine, because the sheer physical effort it takes him to wrestle down each individual eel and kill it dead, is pretty staggering. We have to remember, that John wasn’t missing from so many Robinson family activities by choice – it was because back on Earth he was a soldier, and as the planet begins to degrade, he has to go out and help keep the peace as best he may, which usually means kicking a bunch of degenerate ass.
Will wants to help his family, but the Robot very much has other ideas, so when the Jupiter begins listing from planet issues, Will finds himself locked in a storeroom with a sneaky Dr. Smith, who was inevitably preparing to disappear herself. Even after the eels are dealt with, the ship is out from under degrading ground and more or less in one piece elsewhere, the Robot thinks his friend Will Robinson needs more protection, so he/it goes and does something very naughty. And potentially lethal.
Poor Will understands the Robot’s desire to protect him, but his respect for life flares first and that surreptitiously printed gun gets a hasty hiding. Sadly, the one person we really did not want to see that, did in fact watch, from her hiding place around the corner, which is after all a Smith trademark.
The comms are now working and everyone about the Jupiter 2 is all kinds of excited about hearing from the Resolute, the original mega transport ship that was supposed to take the to Alpha Centauri. Except perhaps the nefarious Dr. Smith, who as we all learned from the beginning of this episode, isn’t any kind of Doctor or Smith at all.
Explore the unnamed planet the Robinsons and their cohorts landed on, here in ‘Lost in Space’ on Netflix now!
“Mufasa: The Lion King” is a visually stunning addition to the beloved Lion King franchise, offering a fresh and emotionally resonant take on the origins of one of Disney’s most iconic characters. The film beautifully explores Mufasa’s journey, balancing heartfelt moments with touches of comedy that lighten the mood and make the story accessible to audiences of all ages. The animation is breathtaking, capturing the vibrant landscapes and lush environments of the Pride Lands, adding depth to Mufasa’s character and his relationships.
The storytelling is compelling, effectively pulling at the heartstrings while providing insights into Mufasa’s character before he becomes the legendary king. However, the setup for Scar’s betrayal feels somewhat underdeveloped, lacking the deeper motivation that could have enriched their complex brotherly relationship. This missed opportunity leaves a slight gap in understanding Scar’s actions, which could have elevated the dramatic stakes.
The musical score is impressive, featuring memorable songs that enhance the emotional impact of pivotal scenes. While there are several standout tracks, one song, in particular, resonates deeply and is sure to linger in viewers’ minds long after the credits roll. Overall, “Mufasa: The Lion King” is an amazing film and a worthy addition to the Lion King lore that manages to deliver both laughter and tears, offering a rich tapestry of storytelling that fans will appreciate.
“Kraven the Hunter,” directed by J.C. Chandor, aims to introduce a beloved Spider-Man villain to the big screen, but unfortunately, it falls short of expectations. The film suffers from noticeable issues, notably an overuse of ADR (Automated Dialogue Replacement), which detracts from the authenticity of the characters’ interactions and contributes to an uneven audio experience. This technical flaw is compounded by rough storytelling that feels disjointed and lacking in coherence, leaving viewers struggling to connect with the narrative.
Aaron Taylor-Johnson delivers a commendable performance as Kraven, showcasing the character’s gritty nature and complex motivations. His portrayal has potential, and it’s evident that he could elevate the character far beyond what is presented with a stronger script and direction. However, the absence of Spider-Man, a central figure in Kraven’s lore, leaves a void that the film struggles to fill. Without this critical connection, the plot meanders and fails to create the tension or stakes that fans of the superhero genre crave.
Additionally, including Rhino as a villain feels like a missed opportunity; he is presented more as a gag character with limited screen time, undermining any sense of threat or depth. For the average moviegoer, “Kraven the Hunter” might entertain but ultimately feels like a mediocre viewing experience. Comic book fans, however, may find disappointment in this lackluster attempt to create a solo character film. Instead of an exhilarating dive into Kraven’s world, the film presents a watered-down version, leaving audiences wishing for a more cohesive vision that honors its comic book roots.
A Year Without a Santa Claus, the 1974 stop-motion holiday classic produced by Rankin/Bass, is a heartwarming and whimsical tale that has cemented its place in holiday traditions. Based on Phyllis McGinley’s 1956 book, the story revolves around a disheartened Santa Claus who, feeling unappreciated, decides to take a year off from his Christmas duties. It’s up to Mrs. Claus and a pair of well-meaning elves, Jingle and Jangle, to reignite the Christmas spirit and show Santa the world’s unwavering belief in him.
The movie is beloved for its unforgettable characters, especially the bickering Miser Brothers, Snow Miser and Heat Miser. Their catchy, vaudeville-style musical numbers, “Snow Miser Song” and “Heat Miser Song”, are so iconic they’ve become cultural touchstones, often parodied and celebrated decades later.
Directed by Arthur Rankin Jr. and Jules Bass, the film continues the duo’s tradition of stop-motion magic, blending heartfelt storytelling with quirky humor. The voice cast, featuring Mickey Rooney as Santa and Shirley Booth as Mrs. Claus, delivers standout performances. Booth’s warm narration was her final acting role before retirement, adding a layer of poignancy to the film.
Initially released on December 10, 1974, on ABC, the special didn’t immediately achieve the legendary status of Rudolph the Red-Nosed Reindeer. However, it gained a dedicated following through annual holiday airings, nostalgic appeal, and its distinct charm.
The film’s themes of hope, unity, and rekindling joy remain timeless, making it a perennial favorite for audiences of all ages. Its blend of humor, catchy songs, and a touching message about believing in magic and goodwill ensures its enduring legacy during the holiday season.
For fans of holiday classics, A Year Without a Santa Claus is a must-watch that never fails to warm hearts and spread cheer.
‘Mufasa: The Lion King’ Will Leave You Breathless
Is ‘Kraven the Hunter’ a Total Letdown?
A Brief Review and History of A Year Without a Santa Claus
Review: Pushpa: The Rise (2021)
KGF: Chapter 2
Kyle Gallner May I?
A Review of Krampus: A Horror Fan’s Ultimate Christmas Treat
SDAFF 2024 presents ‘Dead Talents Society’: I hate this world!
Review of Black and White Spoon on Netflix
Y2K: Get up and Break Stuff!
Comic-Con 2024: Arthur C Clarke’s Venus Prime TV series
Comic-Con 2024: Max Collins’s TRUE NOIR
Comic-Con 2024: Will Wight’s Cradle
Interview With Heroes & Villains Creative Director Doug Johnson
Thatsmye Interviews: Les Weiler on Henchin’: the Series
